FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER ART

FALL 2004 AT VAS SAR

Larry Sultan and Mike Mandel graduated from the San Francisco partments, municipal agencies, and testing facilities, requesting Evidence Art Institute in 1974. Fast friends who had in common an up- permission to rummage through their photographic files and carry bringing in the San Fernando Valley and a wry sense of humor, the off specimens. Examining some two million photographs in seventy two began collaborating on conceptual art inspired by the work archives over a two-year period, they edited their findings down Revisited of such southern Californian post-Pop masters as Ed Ruscha and to 89 prints, which were exhibited at the San Francisco Museum John Baldessari. For a billboard piece titled Oranges on Fire and of Modern Art in March 1977. The associated book, Evidence, a book, How to Read Music in One Evening (both 1974), Sultan became an instant and enduring classic among photographers. Like October 2 - December 19, 2004 and Mandel drew upon the wealth of anonymous imagery avail- the artists’ earlier ventures, Evidence was, in the artists’ words, “a able in low-budget advertisements and instruction manuals. Their poetic exploration upon the restructuring of imagery.” Stripped Prints and Drawings Galleries witty, offbeat projects questioned the principles of originality and of explanatory captions and divorced from their institutional authorship while moving art out of the museum and into more contexts, the banal photographs seemed to testify to cryptic and public arenas. dubious rituals, carried out in pursuit of lost questions. The Evidence project was a logical next step. Having secured When the show closed, The Center for Creative Photography an official-looking letter of support from the National Endowment in Tucson, Arizona acquired the entire set of Evidence prints for the Arts, the artists approached assorted industries, police de- and sent them on an international tour that included stops at the Centre Pompidou in Paris and Harvard’s Fogg Art Museum.  In its travels, Evidence sowed no small amount of confusion, admiration, and controversy over the artistic appropriation of Anonymous photographer, “found” imagery. In the preceding decade, the snapshot, the news Photograph from Evidence photograph, postcards, advertising images, and other functional genres of imagery had begun appearing in museum contexts; the anonymous photograph had emerged as a central focus of curato- rial attention. By adopting the role of artist-curators, Sultan and Mandel assumed a complicated position within contemporary debates about the aesthetics of documentary photography and the role of Photographer Unknown in the medium’s evolution. Accompanied by a new edition of the 1977 book, Evidence Revisited pairs the original Evidence prints with correspondence and other historical documents that contextualize the project. It thereby lends a human dimension to an unassuming yet influential episode in photography’s postwar history and provides perspective on the now-ubiquitous role of found photographs in art. Mike Mandel spoke at 6 p.m. on Tuesday, October 12 in Vassar’s Taylor Hall 203. A reception for the exhibition followed in the Art Center. Evidence Revisited is presented at Vassar through the generous support of The Horace W. Goldsmith Foundation.

Museum exhibitions normally lay emphasis upon “master” pieces: Second Sight: objects which, through singular quality and renown, stand for epochal transitions and definitive chapters in the evolution of art. In Second Sight the story is instead about continuity and Originality, constant, subtle amendment in art over time, told by objects from the Art Center’s collection that refer, in a variety of ways, to other Duplicity, and objects. The curators and the director have plumbed the vaults for rarely-exhibited works that have transmitted motifs, methods, styles, genres, ideas, and traditions from one context to another. the Object Ranging across all media and through geography and history, from the Middle Ages to the present, Second Sight brings together variant renditions and copy sketches, satires and homages, authorized January 14 - April 10, 2005 facsimiles and suspected forgeries, works of problematic attribution, renderings in alternative media, modern versions of classic themes, Prints and Drawings Galleries and postmodern reinventions of modernist icons. A tale of enduring national rivalries lies behind Washington Allston’s Cupid Playing with the Helmet of Mars (1804), a copy of a figure found in the foreground of Rubens’ Henry IV Receiving the Portrait of Marie de’ Medici (1621-25). Two decades after complet- ing his work in front of the original in the Luxembourg Palace,  Allston recalled that French painters passing by, ignorant of color Andy Warhol (American, 1928- technique, had condescendingly regarded his pre-glaze colors as 1987), Jackie II, 1966. a sign of American incompetence. In contrast, a visiting Italian forebears, James McNeill Whistler’s lithograph Early Morning, Color screenprint in black and cardinal who witnessed the vernissage in process had praised the Battersea (1878). lavender inks on paper board. painter for knowing his business. Among satires in the exhibition is a seventeenth-century Flem- Gift of Drs. Alvin and Lenore Two self-portraits, painted and drawn, by a later American ish bronze sculpture of the Laocoon; its lead figure, Bacchus, has Weseley (Lenore S. Levine, artist, Milton Bellin (1913-1997), are remarkable for a degree been set upon not by serpents but by putti who are after his bowl class of 1954), 1992.32 of finish – and of inch-for-inch agreement with each other – at of wine. In James Gillray’s Weird Sisters: Ministers of Darkness, which manual skill borders on mechanical precision. Bellin’s Minions of the Moon (1791), an etching dedicated to Henry Fuseli, technique, in egg tempera on panel and ink and gouache on paper the latter’s image of the witches in Macbeth morphs into a trio of respectively, was characterized by meticulous attention to detail Tory ministers. The moon they worship is a two-faced monarchy, and perfection of surface. a smiling Queen on its sunny side and the King in the shadows. Photographers, working in a medium widely regarded as inher- Even viewers who consider themselves familiar with the Fran- ently mechanical, have employed diverse methods to avoid the ces Lehman Loeb Art Center’s collection will find much to be taint of “art reproduction” and to signal the status of their work worth a look, and a second look, in Second Sight. The exhibition as art in itself. In Second Sight an Orientalist platinum print of is made possible by the generous support of The Smart Family the Thames by Ernest Lamb is seen alongside one of its aesthetic Foundation. FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE TWO

The feature article by Professor Andrew Watsky in this edition of support of Japanese sponsors. This growth was not an intellectual Director’s Art at Vassar deals with an exciting group of Japanese paintings fad but a clear evolutionary trend. When the Vassar art depart- and prints acquired over the past year by the Frances Lehman ment made a half-time position in Asian art full-time in 1994, it Loeb Art Center. While there have always been some Japanese signaled an important moment for the curriculum. In the hiring Message— works of art in the collection at Vassar, their presence and use of Andrew Watsky, the College also gained a scholar with a deep- have had a somewhat checkered distant past and an uneven recent seated love of works of art and much specialized knowledge in College one. Among the large collection of Asian objects given to the the field of Japanese paintings, prints, and objects. This interest College by Charles M. Pratt in 1936, were a number of objects led to bringing to Vassar loans of original works from a number of from the Japanese tea ceremony, mostly bowls and tea jars. This American museums and exhibitions focused on Japanese lacquer Collections and material, together with the better- known Chinese jades given by and prints. Such loans, over time, become expensive and it was Mr. Pratt, had remarkable breadth and depth as a collection. A increasingly clear that support of the program needed to be made New Directions number of the jades were perennially on view in Taylor Hall in tangible by beginning an initiative to broaden and strengthen the the eponymous “Jade Room,” a place that today retains the name holdings of Japanese art. The past fifteen months have brought some but where no jades have resided for fifteen years, a fact certainly remarkable works of Japanese art into the permanent collection, as puzzling to many students. The collection also contained a number Professor Watsky recounts in his article. The highlight, the early of Japanese prints of widely varying quality and condition that Buddhist Nachi shrine mandala painting, arrived in October of were not much utilized. this year, much to the enthusiastic surprise of scholars in this field. The problem with this Asian material was that it existed largely Coincidentally, it has been a very good time to make Japanese outside of curricular support and use. While Asian art was taught at acquisitions and one senses that there is greater value for money Vassar intermittently during the 1960s, 70s, and 80s, it was largely spent in this field over many areas of Western art. done by part-time or visiting faculty whose responsibilities did not The Frances Lehman Loeb Art Center will remain committed, include the building or advocacy of the collection. In fact, much where possible, to focusing acquisition support on the important to our present chagrin, a large number of the Chinese jades and areas of growth and use within the curriculum, both within the art Japanese ceramics were deaccessioned and sold in the early 1980s, department and, potentially, in other areas of study. The building of when it appeared that these works would never be relevant to the the Japanese collection will continue to be a priority and, I think, mission of the college and its museum. Fortunately, we did retain a model of the symbiotic and synergistic relationship between almost two hundred objects from this collection. proactive faculty and the professional staff of the Art Center. Many things changed, however, in the late twentieth century. The great economic rise and influence of Japan and, later, China James Mundy on the international stage resulted in a greater interest among The Anne Hendricks Bass Director universities in offering courses, then programs, and ultimately, The Frances Lehman Loeb Art Center departments centered on Asian studies, often with the financial

The members of the art department at Vassar College have a spe- Joseph Gandy: Visionary Views of England, held at the Richard From the Art cial commitment to work with original objects. For this reason, Feigen Gallery in New York this past summer. This exhibition we are especially blessed to have the Frances Lehman Loeb Art included 98 watercolor renderings of the English countryside Center available as a place to gather with students in the presence that had been bound in a sketchbook for almost two centuries. Department of art. When participants in Art 105 attend their first discussion These sketches retain a freshness and vitality that reveal much section, they find themselves with their conference instructor about the Romantic response to nature in the early 19th century. before the Egyptian head of Merymose in the Loeb Art Center, Isolde Brielmaier is currently co-curating a show, Engaging the and they will continue to make many class trips to the museum Camera: African Women, Portraits and the Photographs of throughout the year. Our proximity to art institutions in New Hector Acebes, at the Spelman College Museum of Fine Art, York is also a boon, and as the year progresses, 105 students find which will be held from October 28, 2004 to February 21, 2005. themselves journeying to the Metropolitan Museum to do their And finally, Susan Kuretsky is organizing a major loan exhibition paper assignments. In upper division classes, the majority of the for the Lehman Loeb Art Center, Time and Transformation in faculty members continue to require students to write papers Seventeenth-Century Dutch Art, which will bring together over based on first-hand observations of art works. Often instructors ninety Dutch paintings and works on paper. Along with Susan, personally accompany students to museums or historic buildings an international team of scholars will contribute to its catalogue, for on-site discussions. Andy Watsky has so taken this principle which is supported in part by the Agnes Rindge Claflin fund. The to heart that he has organized a spring-term field trip to Japan exhibition will run from April 8 to June 19, 2005. for his course, Asian Studies 105, and his students will have the Invited speakers were among the departmental highlights of opportunity to visit such places as Nara, Kyoto, Hiroshima, and the spring 2004 term, including: a lecture by the groundbreak- Tokyo under his expert guidance. ing feminist scholar, Mary Garrard, on “Leonardo da Vinci’s This preference for “real” objects over reproductions extends Enigmatic Portrait of Ginevra de’ Benci: a Problem of Genre”; a into our scholarly life as well, and many in our department have lecture by Johan Martelius, of the Royal Technological Institute, organized or have been involved with exhibitions recently. Last Sweden, on two mid-20th c. Swedish architects, Peter Celsing year, Molly Nesbit was the co-curator of the Utopia Station at and Sigurd Lewerentz; a lecture by architectural historian Eve the Venice Biennale, and Lisa Collins was the co-author of an Blau, Harvard University, on “Under the Sign of Transparency”; exhibition catalogue, African American Artists, 1929-1945: a digital presentation by Pierre Huyghe and Francois Roche on Prints, Drawings, and Paintings in The Metropolitan Museum of Art. their Streamside Day Follies, an event organized in conjunction Nicholas Adams facilitated an exhibition based on the buildings with Dia:Beacon; and a provocative lecture by Jeremy Blake, a of the Baroque architect Fischer von Erlach, held in the College contemporary video artist. Center, in February. Jacki Musacchio was co-curator of a stun- ningly beautiful display, Marvels of Maiolica, that was installed in On all fronts—departmental activities, teaching and scholarly the Art Center from April 9 to June 13. This exhibition of Italian endeavors—our common purpose combines to form a vibrant Renaissance ceramics from the Corcoran Gallery of Art collection intersection of intellectual inquiry and direct perception of art. included an array of compelling objects that Jacki used to enhance the teaching of her seminar as well as her lecture course in the Karen Lucic spring term. She also wrote a catalogue to accompany the exhibi- Professor and Chair tion. Brian Lukacher curated a show and wrote the catalogue for

Educators, students and community groups are invited to experience Walk-in tours for children and their families are offered on the collection of the Frances Lehman Loeb Art Center with the Saturdays at 11:00 A.M. Adult-oriented tours are offered on Group Visits help of Vassar College student docents. Let them be your guides Saturdays and Sundays at 3:00 P.M. No reservations are required in the exploration of original paintings, sculpture, works on paper, for walk-in tours. photographs and other art forms. Several tours are available, spe- cifically designed for adults or school groups, levels K-12. Highlights of the Permanent Collection offers a comprehensive overview of art in the collection from antiquity to the present. Special Exhibition Tours provide a focus on current temporary exhibitions. Curriculum-Based Tours are available to educators of all disci- plines to complement work done in the classroom. Self-Guided Tours for groups are always welcome; advance notice of your group’s visit is appreciated whenever possible. Educators may also participate in the Every Artwork Tells a Story program for students in grades 1 - 5. Docents visit your classroom and present slides of works from the permanent collec- tion. Student-centered discussion to encourage exploration of art is followed by an appropriate art activity. Educators and tour group arrangers should call Kelly Thompson, Coordinator of Public Education and Programs, at (845) 437-7745 or email: [email protected]. Please allow at least three weeks advance notice to reserve a tour date and time. FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE THREE

The Friends of the Frances Lehman Loeb Art Center are pleased for acquisition. It now hangs prominently in the FLLAC 20th to announce the resounding success of the past year’s efforts to give century galleries. Mr. Leslie was born in the Bronx in 1927 and Friends’ Report a significant work of art to the FLLAC as a 10th anniversary gift. studied at the Art Students League and New York University. Thanks to the support of our generous members, we accomplished Although hailed as one of the most talented of the second gen- all we set out to do and more. It was a terrific year and we owe our eration of Abstract Expressionists, he turned to a realist style in gratitude to all of you – our members – whose enthusiasm and love the early 1960s, portraying everyday people in a heroic manner. of art continues to sustain and enrich our programs. Among his best-known images are standing self-portraits, such as What could be more fun than the opportunity to not only this painting of the artist in formal black tie. Like his other self- support the growth of the Art Center’s outstanding collection, portraits, it is large, frontal, and the figure is pressed against the but to be actually part of the acquisition process? To this end, the picture plane. Along with Philip Pearlstein and Chuck Close, Friends organized two elegant evenings where participants learned Alfred Leslie emerged from the Pop movement of the 1960s as a about art and building a collection, socialized with colleagues and key figure of figural realism. In spite of the revival of realist paint- friends, and viewed and voted on which of three artworks would ing in the late twentieth century, their style of painting was never be purchased as the 10th anniversary gift. rivaled or duplicated. We express profound gratitude to Frances Beatty Adler, class of 1970, and a director of the Friends, and Richard Feigen, who Additional recent Friends events across the country included opened the R. L. Feigen gallery in New York City in March for an an exclusive tour of the prominent 20th century art collection of evening cocktail party. James Mundy, director of FLLAC, presented Mr. and Mrs. Robert Meyerhoff of Baltimore. The Meyerhoffs his recent research on Federico Zuccaro to guests, and all had the graciously opened their home and garden to DC area Friends on opportunity to view in person the three artworks chosen by Mr. June 17. Following the tour, Friends enjoyed a luncheon at Ladew Mundy and FLLAC curators Joel Smith and Patricia Phagan: Gardens nearby. We have Friends director Gay Patterson Lord, 1. Richard Serra, Spiral Cord, 2001, paintstick on handmade class of 1957, to thank for this once in a lifetime opportunity. paper The Milwaukee Art Museum once again opened its doors to Friends and mid-west Vassar alumnae/i on June 12. The museum 2. Alfred Leslie, Self-Portrait, 1982, Oil on canvas welcomed FLLAC director James Mundy back for his first visit since leaving his post as Chief Curator there in 1991. His lecture, 3. Robert Colescott, Knowledge of the Past is Key to the Future: “Report from the Seminar Room: What the Art Object Can Tell The Other Washingtons, 1987, Acrylic on canvas Us,” enlightened Vassar and MAM’s Fine Art Society patrons about the hidden meanings of art and served as the catalyst for Each guest was entitled to vote on which of the three they the day’s theme, The Educated Eye Looks at Art. Additional thought should be the anniversary gift. On the occasion of the activities included master classes with Mr. Mundy and MAM Friends annual meeting, a gala dinner was held in the magnificent curators, as well as a luncheon. We thank Friends director Anne newly renovated Students Building on campus. The three artworks Henoch Vogel, class of 1963, who was the driving force behind were displayed in the Frances Lehman Loeb Art Center’s galleries, this exceptional day. and the curators presented the merits of each work to dinner guests. Mr. Mundy delivered a fascinating lecture on building a museum In this new year, we turn our attention to the promotion of collection to the crowd. Following much lively discussion, dinner, FLLAC’s education program. At our May Executive Committee wine and dessert were served and the final ballots counted. meeting the Friends proposed an incentive gift toward the endow- A very close count left Alfred Leslie’s Self-Portrait as the choice ment being created to support the position of Coordinator of Public Education and Programs. The public education program trains  Vassar students as docents to give museum tours to school Alfred Leslie, American 1927- groups and other visiting groups. Self-portrait, 1982 In this newsletter you will read Oil on canvas profiles of a few of these docents Purchase, Friends of the Frances and I think you will agree they Lehman Loeb Art Center Fund represent the best and brightest 2004.18 Vassar scholars. In addition to museum tours, they visit local schools to present works from the FLLAC collection with their “Every Artwork Tells a Story” program. Another popular program is the Artful Dodger series which features a non-art history Vassar professor presenting a favorite work of art in the galleries. FLLAC’s education program reaches out to the Hudson Valley com- munity in varied ways, and imparts a love of art and culture to youngsters and others. We support it wholeheartedly. The Friends’ proposed gift is but a fraction of the money needed to create this endowment. We hope others, too, will step up to help complete the fundrais- ing needed to endow this vital program for Vassar and the community. Your membership in the Friends makes a significant difference in allowing us to support the Art Center in these and other ways. Thank you for your participation in all we do. If you are not a member of the Friends and are interested in joining our organization, there is an application form on the back of this newsletter. Do join now, and show Vassar and the Hudson Valley com- munity that the arts continue to be an important aspect of modern life. Joanne Cuttler Executive Administrator Friends of the Frances Lehman Loeb Art Center FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE FOUR

Over the past year the Frances Lehman Loeb Art Center has The Lehman Loeb Art Center also recently purchased a large pair Japanese Art acquired a number of Japanese paintings and prints, opening an of six-fold screens by the seventeenth-century painter Kano Eino. exciting new focus of collection that has enriched the galleries Eino is famous not only as a member of the Kano workshop—the at Vassar as well as Vassar classes in Japanese art. They range in date from most influential and enduring painting workshop in Japan, known the late sixteenth through the nineteenth centuries, cover a wide for adapting orthodox Chinese modes of painting into its own style—but also for writ-  range of approaches to image-making, from simplified abstraction to close observation, and depict a great variety of subjects, both ing the first comprehen- secular and religious. Although these purchases represent only a sive history of Japanese Ito Jakuchu, Japanese 1716 -1800 painting. Across the Inscriber: Minagawa Kien, Japanese first step in what, it is hoped, will be a long-term commitment to the area, the start is very auspicious. broad horizontal format 1734-1807 of the screens, Eino de- Squirrel and Grapes The most important acquisition is a monumental painting of the sacred precincts of Nachi, a major site of syncretic Shinto and picts the annual cycle Scroll; Ink on paper of rice cultivation, from Purchase, Betsy Mudge Wilson, Buddhist worship since ancient times. Executed in ink, colors, and gold leaf on paper, the Nachi Pilgrimage Mandala is an exceptional the initial planting of the class of 1956, Fund seeds, the transplanting 2004.6 example of a type of narrative painting that was produced in the sixteenth and seventeenth centuries as part of the Nachi religious of the young seedlings establishment’s proselytizing and fundraising efforts: it was used by into the flooded rice monks to help narrate the countless factual and apocryphal tales paddies, the harvesting associated with this sacred place. The painting is full of lively vi- of the mature crop, and gnettes of the devotional activities that took place at Nachi over the celebrations that the centuries. Dominating the right side of the painting is Nachi’s follow. The subject was magnificent waterfall (the tallest in all Japan), which was believed common in Japanese to be the manifestation of a deity. The renowned twelfth-century and Chinese art—rice monk Mongaku is shown at the base of the waterfall being rescued was, and remains, the by two child-deities—Mongaku was so devoted to worshipping staple of the East Asian under the sacred torrent, the legend goes, he almost drowned. In diet—and Eino’s paint- the lower right of the painting a small sailboat departs on a one- ing expertly renders it way trip to the mythical paradise Fudarakusen, its sail inscribed in his disciplined and with an invocation of faith (“Hail to Amida Buddha”). This fluid ink brushwork, with practice involved worshippers of unshakable belief who willingly touches of color to high- left behind this mundane world to seek the promise of the next, light certain details. The and until the eighteenth century had many advocates. Among the scene Eino renders here other recognizable sites and buildings of Nachi, numerous people takes place not in Japan, of different social strata—warriors, aristocrats, monks, and com- in fact, but in China, as moners—engage in similar devotional activities. indicated by such things The clarity of pictorial expression makes the stories easy to fol- as clothing and features low. Carefully rendered buildings anchor the composition; bright of the landscape itself. It colors and lucent gold leaf further emphasize the important places is an imaginary vision of within the profusion of detail. Typical of such paintings, the site is Japan’s great neighbor, shown from a bird’s-eye perspective, affording a privileged view of which was long an in- the site. The clarity of the narrative style will make the painting spirational source for the an entertaining and instructive focus for gallery talks at the Art Kano workshop in terms Center; indeed, such talks would emulate the original purpose of the of subject matter and painting—as a visual device to illustrate a monk’s storytelling. painting techniques. Nachi is still today a major tourist and pilgrimage destination Another recent addi- in Japan, renowned not only for its religious history but also its tion, on a much smaller natural beauty, and it was recently designated a World Heritage scale, is an intimate Site. This past summer, I led a group of Vassar faculty on a trip to hanging scroll by the many of Japan’s important cultural sites, and we spent one day at eighteenth-century In- Nachi hiking around the mountain and its monuments, retracing dividualist painter, Ito part of the ancient pilgrimage route, and comparing the Art Center’s Jakuchu. The subject is painting to the actual place. We stayed overnight at the temple a squirrel frolicking on a there, enjoying temple food and the quiet of the precincts after grape vine, and Jakuchu the tour groups were gone. It was, all agreed, one of the highlights uses it to display his of our trip, and I will repeat the visit next spring with a group of consummate control of Vassar students in a course I will teach on the relationship between ink on paper to express contemporary Japan and its artistic past. the different textures and characters of the  various elements: crisp, Japanese 16th-early 17th century dry brushwork for the brittle grape Nachi Pilgrimage Mandala vine; loose, wet ink for the mature Ink, colors, and gold leaf on paper, bulbous grapes; soft, delicate line mounted as a hanging scroll work for the squirrel’s fur. An Purchase, Pratt Fund and Betsy Mudge inscribed poem at the top of the Wilson, class of 1956, Memorial Fund painting, brushed by a prominent 2004.10 scholar-calligrapher of the day, characteristically comments on the painting’s subject, lyrically linking the depicted motifs to autumn. Also small in scale are two nineteenth-century surimono, pri- vately commissioned prints made in limited quantities for exclusive groups of well-to-do clients. As is the case with these examples, surimono were created with the most lavish yet delicate print- ing methods and often include printed inscriptions of poetry. Their pictorial effects are much more understated than the more familiar and commercial Ukiyoe prints: the light tone of the ink produces a remarkably delicate appearance; small amounts of gold leaf introduce rich touches of luminosity; blind printing (printing without ink) creates soft shadows. The subject matter

Continues FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE FIVE

Japanese Art at Vassar Continued is very different, too, from Ukiyoe prints—not the Kabuki theatre, courtesans, or the landscapes, but usually seasonal, lyrical imagery. Both of these prints are New Year’s images, and they are inscribed with poems that convey appropriate auspicious meanings for the depicted images. In the print entitled Warbler Perched on a Mortar and Pestle, for example, each of the two poems makes reference to  pounded rice and mortars, the main ingredient and tool used to make a special treat eaten at New Year’s; the poems also refer to Totoya Hokkei, Japanese 1780-1850 warblers and young greens, typical spring-time imagery (the lunar Warbler perched on a mortar and New Year coincided with early spring in Japan). These prints are pestle, from the series Sanjûroku tori meant to be enjoyed quietly and over time, looking at the subtle zukushi (A Collection of Thirty-six pictures and linking them to the elegant accompanying poetry. Birds), mid 1820s Several paintings are by nineteenth-century literati painters, Shikishiban surimono Japanese artists who sought inspiration from Chinese models dif- Purchase, Pratt Fund ferent from those admired by the Kano workshop and who thereby 2003.39.2 positioned themselves outside the established orthodoxy of official art. These self-proclaimed amateurs—who were in fact expertly

practiced—created a new approach to painting in Japan that was  enormously popular and influential. InAutumn Landscape, by Nakabayashi Chikuto, for example, the soft brushwork, light-toned Kano Eino, Japanese 1631-1697 ink, and off-center composition create an overall looseness that Farming Scenes of the Four Seasons was an anathema to Kano workshop artists. It is just such paintings, Pair of six-fold screens; however, that invigorated Japanese art—as, I hope, all these new ink and color on paper works will do for the Art Center galleries. Purchase, Betsy Mudge Wilson, class of 1956, Fund Andrew M. Watsky 2004.4 Associate Professor, Art Department 

Around 1855, the American artist John William Hill seemed During the mid-1850s, when Hill began his venture into this Curator’s Choice convinced of painting nature in a more careful, acute manner, new manner of working, the Reverend Elias Lyman Magoon was after having read and absorbed the first volume of John Ruskin’s forming his collection of over three thousand British watercolors, Modern Painters. Hill, associated with the American Pre-Raphaelite drawings, prints, and Hudson River School paintings, eventually movement at mid-century, would come to paint landscapes and still bought by Matthew Vassar as the core collection of the Vassar Col- John William lifes in highly detailed, light-filled watercolors that emphasized the lege Art Gallery. In 1856, Magoon, future trustee of the college and subtle, elegant contours and sun-basted surfaces of nature. Ruskin, a correspondent with Ruskin, purchased from Ruskin Bacharach Hill, Bacharach the English artist and critic, promoted a more exact recording of on the Rhine, an example of Turner’s small “vignette” watercolors nature than was current in American art, and he championed which were so highly praised in Modern Painters. watercolor, especially the works of England’s greatest watercolorist, The circumstances leading to Hill’s copy are unclear, but both on the Rhine J. M. W. Turner, who, according to Ruskin, masterfully combined Hill and Magoon were ardent admirers of Ruskin and his ideas. the literal with the romantic. Sometime after the arrival of Bacharach on the Rhine on America’s Born in London and reared in Philadelphia and New York, Hill shores, perhaps in the later 1850s, Hill copied Turner’s watercolor, was the son of the engraver John Hill, a specialist in scenic landscape shown at left, below. In this small, flickering color sketch, puddles and city views. Hill, who apprenticed to his father and lived near of blue are prominent and nuances of light and reflection dominate. him in West Nyack, at first served as a topographical artist for the Light dominates Hill’s slightly larger copy, too, at right, though the New York State Geological Survey and as a painter of watercolor contours are less defined and the highlights are diffused. In fact, a views of cities and sites that were intended to be engraved. Inspired network of hatching strokes in Hill’s work renders a softer light and by Ruskin, he gradually changed course and began in the 1850s replaces Turner’s washes of blue. By the 1860s, this system of fine making sketching trips to the Hackensack River Valley and the hatch marks, with stippling, defined Hill’s watercolor technique, Catskill Mountains, painting oils and watercolors in the open air. and a glowing light distinguished his works. Both watercolors will In 1857 he showed some of these studies at the spring exhibition at be on view during the winter exhibition, Second Sight: Original- the National Academy of Design. The next summer, he continued ity, Duplicity, and the Object. making nature studies, increasing the translucency of his tones and brightness of his colors and traveling to more sites. Working Patricia Phagan steadily in this new way, he began producing watercolors of far The Philip and Lynn Straus Curator of Prints and Drawings greater clarity and detail, and by 1863 he was elected president of the American Pre-Raphaelite group, the Association for the Advancement of Truth in Art.

(at left) J. M. W. Turner (English, 1775-1851) Bacharach on the Rhine Watercolor, gouache, and graphite Gift of Matthew Vassar Continues 1864.1.217 (at right) John William Hill (American, born England 1812-1879) Bacharach on the Rhine (copy after J.M.W. Turner) Watercolor and graphite Gift of Ellen Gordon Milberg, class of 1960 1983.44 FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE SIX

Describe an interesting tour/art presentation from your Meet the Docents docent experience: I enjoy relating the history of the portrait of Matthew Vassar once hung in Rockefeller Hall. At one point in time, however, some rowdy students decided to throw mashed potatoes at the portrait of our founder. Ever since, the painting has been kept in a safer location. However, if you look closely, you can still see where the mashed potato hit. What is your favorite education program? Why? Noteworthy is a great program – docents pick a work of art and give a public talk about it, and the presentation is followed by some music related to the artwork. I presented a Jackson Pollock alongside a jazz quartet. Not only is it a great way to reach out to the public, but it was a good learning experience for me as well. The most rewarding experience in my career as a docent was: I was once giving a tour to an elementary school, and I included a painting of St. Jerome in his Study, which is a Northern Renais- sance work, and therefore includes lots of overt symbolism. I explained to the children what a symbol was, and they spent the next 30 minutes analyzing the painting. I’ve never seen kids so young enthralled with art before, and it felt good that I had them so engaged. If you were building an art collection of your own, what

 artist/style would you purchase first? I would really like to own one of Ad Reinhardt’s “Black” paintings. It’s just a canvas painted black, but in a meticulous and modulating fashion. Ad Reinhardt Name: Daniel Biller would spend incredible amounts of time on a canvas that was just Class Year: 2006 the color black. It would be great to own. Major: Art History Years as a Docent: 1 What three artists would you invite to dinner and why? What Hometown: Westwood, MA would you serve? Favorite author: John Steinbeck Salvador Dalí, Max Ernst, and Andre Breton. Surrealists as Career goal: unknown dinner company would be an interesting experience, I’m sure. Other hobbies/interests: reading, swimming, film If Matthew Vassar were alive today, whose work would he purchase for the collection? Favorite artwork at FLLAC: The Defense of Paris by Gustave I’m guessing he would still be big on the Hudson River School, Doré especially since it has become a lot more famous in the last 150 years. Why? It’s a huge and impressive allegorical history painting, but So he’d probably be purchasing paintings by Cole and Church. it was painted by someone who is usually considered an illustrator: most of Doré’s works are tiny illustrations for books. It’s really out How has the FLLAC contributed to your experience as a of character for the artist... Vassar student? The FLLAC is a wonderful resource for me, especially since I’m What is your favorite period/style in art? I really like process an art history major. Not only does it allow me to view artists’ art; people like Richard Serra, Chuck Close, or even Ad Reinhardt, works personally, but it also provides a calm, contemplative setting who focus on the act of creation of their art. for looking at and thinking about art.

 Favorite artwork at FLLAC: varies periodically, but right now it’s Donald Judd. Name: Jeannette Vaught Why? I saw the Judd retrospective exhibit last spring at the Tate Class Year: 2005 Modern in London, and it was brilliant. The fact that we have this Major: English and History work from his peak creative years in our gallery is mind-blowing. Years as a Docent: 3 It’s a great work to compare with Agnes Martin’s Harvest and Hometown: Nokesville, Virginia explain the concepts of minimalism relative to the two­—even Favorite author: James Joyce people who are turned off by ‘modern art’ can connect to it on a Career goal: to be a student for as long basic aesthetic level, and thus open the door to even more chal- as humanly possible! lenging works. It’s such an interactive sculpture what with its Other hobbies/interests: horses, reflective surfaces and wide negative spaces, it’s easy to convert mountain climbing, driving embarrass- the skeptics to his genius. ingly large trucks (farm girl at heart), traveling. What is your favorite period/style in art? Modern art and modernist literature really fire me up. The works coming out in the 1950s and ‘60s —Pollock et al — is art nirvana for me. This period combines my academic interests of simultaneous literary, historical, and geo-political revolutions into brilliant artistic expression. Describe an interesting tour/art presentation from your docent experience: One of the best tours I had was a high school class of AP (Advanced Placement) art students preparing for their spring exam. We spent all morning parked in front of art, and the back- and-forth discussion we had was as much a learning experience for me as it was for them. What is your favorite education program? Why? Every Artwork Tells a Story: giving kids an open door to all kinds of art early can only be a good thing. The most rewarding experience in my career as a docent was: It is a continual process, but the most rewarding experience is helping people really ‘get’ a work that challenges them, whether conversation, Dalí for the pure weirdness. It wouldn’t be an art it be a young kid looking at art for the first time, or a little old lady party without Dalí. I would definitely cater. who rejected everything post-Renaissance and can now (without necessarily having to LIKE it) see the point of a Pollock. If Matthew Vassar were alive today, whose work would he purchase for the collection? He would probably lament the clos- If you were building an art collection of your own, what ing of the frontier and purchase Ansel Adams. artist/style would you purchase first?First I would have to get a velvet painting of Elvis, but then I’d splurge on this gorgeous long How has the FLLAC contributed to your experience as a horizontal Pollock I saw at the Tate. Vassar student? The FLLAC has enabled me to spend time sur- rounded by art without the pressure of art classes—the experience What three artists would you invite to dinner and why? What has allowed me to not have to choose between other academic would you serve? Caravaggio for the wine, Walker Evans for the pursuits and a continuing education in art. FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE SEVEN

visit the museum so they were so grateful for our visits. The program was also very successful at letting the stu- dents do more of the talking which is usually my favorite part anyway. The most rewarding experience in my career as a docent was: One wonderful moment that stands out occurred after giving a tour to a group of 8th graders. As they started to break up a student derided the Ellswoth Kelly and oth-

 ers joined in. Now, I must admit that I do not like that work personally, but I was trying to formulate a response when another boy spoke up. Witnessing an incredibly Name: Liza Dolmetsch articulate 8th grader explain to his classmates the worth Class Year: 2005 and potential of abstract art, and watching them listen Major: Studio Art was fantastic. Years as a Docent: I am in my 4th semester If you were building an art collection of your own, Hometown: Arden, DE what artist/style would you purchase first? Favorite author: I can’t pick but some of It surprises me but I suppose my tastes have become a my favorite books would be The Sound little more modern. A trip to Dia:Beacon has me pretty in and The Fury, Jesus’ Son, Catch 22 and love with what some artists like Richard Serra are doing, The Remains of the Day as well as some Judd. I am terrible with names, though, but Career goal: High school art teacher other artists along those lines. Of course, give me some Other hobbies/interests: I love music, Degas, Cezanne, Manet and I won’t complain. talking about books, traveling – espe- cially road trips What three artists would you invite to dinner and why? What would you serve? Favorite art work at FLLAC: Mark Rothko’s painting (No. I just read Girl With a Pearl Earring so I sort of would 18) like to sit down with Vermeer and compare. I would love to meet Why? There is something really familiar about that painting Degas. His work is so humane and I wonder if that is a reflection that resonates for me. I never used to like Rothko and then one of the painter. There are a lot of contemporary artists that I would day it sort of hit me like a ton of bricks. His paintings are for me like to sit down to a meal with, ask them about their work. Luckily like pure sensation the moment before your brain gives them I am awful with names, so I’m going to skip out on listing them. meaning-ie perceives them. He gives a name to emotions that are just on the tip of my tongue. If Matthew Vassar were alive today, whose work would he purchase for the collection? What is your favorite period/style in art? I really can’t nar- It’s anyone’s guess I suppose. Although it certainly isn’t my favorite row it down. It’s like the author question, I’m going to avoid it! type of work, the fact that he purchased such a superb collection of Sorry! Some of the greats for me at the moment are Michelangelo, Hudson River School works does say something. Maybe he would Vermeer, Degas, Diebenkorn, Serra. investigate local artists and representations of the area. Describe an interesting tour/art presentation from your How has the FLLAC contributed to your experience as a docent experience: Vassar student? Actually some of my favorite tours are ones that I just listened I can’t say enough about this job really. The chance to work in in on. All the docents have their own special spin on the collec- a museum with no previous experience was pretty amazing. I’ve tion and their own knowledge to bring to it. I remember a tour learned so much and had such a great time doing it. My knowledge that Nathan gave concluding with Harvest by Agnes Martin. He base has expanded and deepened in the sense that the job pushed was so fantastic he almost had me sold. Almost! me to research areas and artists that I might not have otherwise. I think the best part, though, might be that I’ve had to focus a lot What is your favorite education program? Why? of energy on making the material accessible to different audiences. I really enjoyed a program we did with the Poughkeepsie Day No matter who you are talking to, it’s a matter of figuring out what School. It focused on the Hudson River and we looked at all sorts is going to hook them, asking the right questions. Visual art is of representations of the river, its environment, its people. One experienced and as an experience we are all on equal footing. It’s week was an old etching of a steamboat map, another Hudson quite the opposite of the elitist criticisms it sometimes acquires. River School paintings, then works by American Indians of the Plus when it comes down to it, I get paid to talk about art and hang region. For selfish reasons I really loved the “Every Artwork Tells out with some awfully intelligent and interesting people. And I a Story.” So many schools don’t have the time or money to come think we have the best boss around.

Favorite artwork at FLLAC: The Leslie How has the FLLAC contributed to your experience as a Why? Its minimalism allows the viewer to read the painting Vassar student? It continues to nurture, in me, a better under- almost as an internal dialogue in a book. His stance and his glance standing and appreciation for art. suggest more about the character than any background could. And  by placing the emphasis on only the subject, the artist almost eases us into this relaxed interpretation of the piece, forcing us to ques- Name: Zach Wagner tion what his position and facial expression reveal. Class Year: 2007 Major: Film What is your favorite period/style in art? Abstract expres- Years as a Docent: 1 sionism Hometown: Philadelphia Favorite author: John Steinbeck Describe an interesting tour/art presentation from your Career goal: to be an independent docent experience: filmmaker I had one group of older women from Texas with personalities Other hobbies/interests: listening to kill. After the tour, they were telling me about how they were to music, watching movies, drawing, going around to all these different art museums and telling me writing about artists I had never even heard of. I admired their knowledge and envied their journey. I’m pretty sure I learned more from them that day than they did from me. What is your favorite education program? Why? I don’t pick favorites. I like them all. The most rewarding experience in my career as a docent was: and continues to be the sincere gratitude and outward appreciation of any individual after I give a tour. If you were building an art collection of your own, what art- ist/style would you purchase first? I think I would first purchase some of Pollock’s works. However, given my knowledge and expectations of a grim future financial situation, I think a street vendor in New York will better serve my means. What three artists would you invite to dinner and why? Jackson Pollock, Leonardo Da Vinci, and Degas. I’m sure those three would make for good conversation. What would you serve? Thai If Matthew Vassar were alive today, whose work would he purchase for the collection? Norman Rockwell FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE EIGHT

Individual Members ($50 - 99) Daniel Fracalossi Natalie Junemann Marshall ’51 Nancy Cale Thompson ’61 Friends of Sheila Nipomnich Abrams ‘52 Sarah Winter French ’54 Leyda F. Mata ’94 Jean L. Thomsen ’76 Diana Adams Mary Johnson Frey ’49 Leora Osgood May ’28 Mr. and Mrs. David; M. Tobey Catherine W. Albanese Ruthellen Fried ’72 Katherine Selz Mayer ’31 Joan Gubin Tolchin ’64 the Frances Karen Bisgard Alexander ‘58 Joan Mann Friedman ’44 Phoebe Dare Anderson McCarthy ’69 Muriel Smith Tonge ’48 Margaret Nichols Allport ‘45-4 Mr. and Mrs. Vernon Gambetta Robert McHugh Judith Fiedler Topilow ’63 Mary Armstrong Amory ’40 Kate Ganz and Daniel Belin Christine McKay Joanne Joslin Troy ’46 Lehman Mary White Anderson ‘43 Christine Benedict Garo ’46 Barbara Morgan Meade ’57 Sarah Baker Uhle ’57 Robert A. Annibale ’80 Mr. and Mrs. M. Gregg Gau Mary Amick Melton ’50 Norma Wood Van Kleeck Deborah Martin Arner ’57 Jennifer L. Gauthier ’90 Alexandra R. 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Genco Justin and Deborah Satz Scheer ’50 Nancy Schwartz ’52 Lilla Blumenthal Cooper ’49 Mary Meeker Gesek ’58 Ruth Ann Scherm ’45 Adrian L. Scott ’57 Edward V. K. Cunningham, Jr. Honorary Directors Peggy Pike Gesell ’35 Norma Honig Schlesinger ’52 Dorothy B. Seiberling ’43 James T. Curtis, Jr. ’84 Anne Holton Bushman ’44 Enid Fessenden Gifford ’45 Betty Menderson Schulman ’42 *Janet Gerdes Short ’40 Virginia Garrison Dach ’45-4 Virginia Herrick Deknatel ’29 Mrs. Frederic S. Glazener Mark Schwartz David J. Smiley and Lauren Kogod Joan K. Davidson Harriet Bouvy Drake ’52 Robert F. and Margaret Skelly Elizabeth Wade Sedgwick ’36 Louise Stein Steele ’39 Martin J. Davidson Claire Werner Henriques ’52 Goheen ’41 Barbara Seril ’70 Phyllis Davison Teasdale ’43 Mr. and Mrs. Patrick Demarchelier Mary Pick Hines ’53 John S. Gordon ’00 Roberta I. Shaffer ’74 Bill and Kelly A. Thompson Barbara Rowe de Marneffe ’52 Anne Keating Jones ’43 Theodora Simon Greenbaum ’47 Barbara Stern Shapiro ’50 Helen Sonnenberg Tucker ’47 Maureen Doallas ’75 Phyllis Markman Landes ’50 Reva Messeloff Greenberg ’58 Elizabeth K. Shequine Joan Andrews Watters ’50 Dawn Weingart Effron ’57 Evelyn Borchard Metzger ’32 Leonid Gutman Innis Shoemaker ’64 Robin Woodard Weening ’69 Constance Comly Ellis ’56 Andrea Leeds Miron ’75 Anne Brooks Gwaltney ’79 Frances Liepold Singer ’53 Martha Gaines Wehrle ’47 Mr. and Mrs. Joseph Emsley Carol Rothschild Noyes ’39 Joan Joffe Hall ’56 Jane Wade Skorko Two Anonymous Members Eleanor Morss English ’41 Belle Krasne Ribicoff ’45 Gloria Shaw Hamilton ’41 Janet Simon Smith ’35 Thomas M. Evans, Jr. Foundation Mary Coxe Schlosser ’51 Shirley M. Handel Jean Irwin Smith ’42 Florence Hardy Fitzhugh ’37 H. Peter Stern Joseph and Susan Witter Virginia B. Smith Donor Members ($500-999) Alice W. Forman Katharine Stone White ’36 Handelman ’54 Dr. Robert Sokolowski Jean Coller Allen ’43 Mr. and Mrs. Earl Fowler Alice Farley Williams ’32 Catherine S. Hart ’93 Jill Spiller ’63 Molly Mather Anderson ’43 Susan Fowler-Gallagher Emily Tribble Hart ’56 Barbara Hadley Stanton ’57 Jack and Irene Banning Sarah Winter French ’54 Board of Directors Anne Gould Hauberg ’41 Phoebe Rentschler Stanton ’50 Phebe Townsend Banta ’61 Friends of the Frances Lehman Loeb Purcell Scheu Palmer ’62, Chair F. M. Phillips Hauge ’50 Anne Parks Strain ’56 Susanna Eszenyi Bedell ’40 Art Center Anne Henoch Vogel ’63, Vice-Chair Christine Havelock Anne Youngclaus Stratton ’64 Neil and Nancy Brenizer Benedict ’72 Eleanor Fay Gambee ’62 Elise Power Quimby ’56, Vice-Chair/ Eugenie Aiguier Havemeyer ’51 Ruth Dawson Straus ’43 Anne Holton Bushman ’44 Kate Ganz and Daniel Belin Membership Eugenia Hawrylko ’62 Virginia Ecklund Sweatt ’57 James T. Curtis ’84 James Garcia Elizabeth Gosnell Miller ’84, Secretary Barbara Brown Hawthorn ’71 Bryna Horuvitz Sweedler ’61 Mary Lee Lowe Dayton ’46 Miriam Mendlovitz Gold ’53 Mark Lerner ’74, Treasurer Marilyn Palmer Helmholz ’60 Frances Prindle Taft ’42 Mr. and Mrs. Craig Effron Elizabeth Gordon Claire Werner Henriques ’52 *Josephine Large Talbott ’42 Dawn Weingart Effron ’57 John S. Gordon ’00 Frances Beatty Adler ’70 Mary Telley Herbster ’56 Steven Terr Drew Effron Taube Gargill Greenspan ’49 Jane Callomon Arkus ’50 Dorothy Kittell Hesselman ’51 Mary Wilbur Thacher ’49 Carolyn Peck Farris ’53 Julius and Carla Lawson Gude ’65 Lauren Michelson Braun ’81 Susan Hirschhorn and Arthur Mary Ellen Aamot Thierheimer ’67 Margot Hirsh Feely ’52 Helen and Peter Haje Foundation James Curtis ’84 Klebanoff Beth Mowry Thomas Brent H. Feigenbaum ’82 Gloria Shaw Hamilton ’41 Barbara Rowe deMarneffe ’52 John T. Hogan ’74 Dorothy Matheis Thornhill ’45 Carol Hess Goldman ’62 Nancy Gail Harrison ’74 Christopher D. Drago ’98 Frances Benson Hogg ’62 Janeth Lloyd Thoron ’53 Frances Aaron Hess ’53 Mark Delavan Harrop ’76 and Dawn Weingart Effron ’57 Hope Holiner and Michael Ludmilla A. Trigos ’86 Alison Church Hyde ’59 Lucy Mayer Harrop ’74 Ali Can Ertug ’96 Wolkowitz Mary Klaes Troland ’68 Susan Imbriani Johnson ’87 Eugenia Aiguier Havemeyer ’51 Tania Goss Evans ’59 Alice Ingram Hooker ’55 Dr. and Mrs. George Tsimoyianis Virginia Lewisohn Kahn ’49 Anne E. Hayes ’62 Brent Feigenbaum ’82 Nancy Phillips Howland ’37 Ethel Rowley Twichell ’47 James and Caroline Miller Kautz ’55 Delmar Hendricks Renee Fotouhi ’81 Esther Hird Hunt ’44 Kristen E. Vale ’96 James K. Kloppenburg ’77 Claire Werner Henriques ’52 John S. Gordon ’00 Mary-Alice Hunter ’38 Karen Dahlberg VanderVen ’59 Gay Patterson Lord ’57 Mary Pick Hines ’53 Nancy Gail Harrison ’74 Armine A. Isbirian Beverly Von Weise Rumage Vickrey ’47 Jean Bronson Mahoney ’52 Mr. and Mrs. Steven Hirsch ’71 Anne E. Hayes ’62 Waleska Evans James ’45-4 Judith Mann Villard ’62 Evelyn Borchard Metzger ’32 Henry Johnson ’88 and Susan Alison Church Hyde ’59 Jane Reisman Jampolis ’59 Alice Myers Wald ’62 Elizabeth Gosnell Miller ’84 Imbriani Johnson ’87 Susan Imbriani Johnson ’87 Joel Jastromb Nora Ann Wallace ’73 Linda Carr Milne-Tyte ’62 Evie T. Joselow ’83 Evie T. Joselow ’83 Sara Caldwell Junkin ’64 Cynthia Berman Watson ’71 Letitia McClure Potter ’59 Jonathan Kagan Jacqueline J. Kingon Ellin Roudin Kalmus ’46 Sylvia Babcock Weaver ’46 Elise Power Quimby ’56 Kautz Family Foundation Paula J. Krasny ’85 Mr. and Mrs. Stephen C. Kaye Theodora Zopko Wei ’64 Sally Lyman Rheinfrank ’63 Joan Oestreich Kend ’56 Mark J. Lerner ’74 Juliana Boyd Kim ’69 Anne Weil Weinberg ’64 Belle Krasne Ribicoff ’45 Mr. and Mrs. Alfred Kingon Gay Patterson Lord ’57 Elena de la Ossa Kingsland ’56 Emilie Welles ’55 Elizabeth Hunter Scott ’62 Phyllis Markman Landes ’50 Karen M. Lucic Judith M. Kleinberger ’63 Virginia Willard Wentworth ’32 Lynn Gross Straus ’46 Susan Wallin Leslie ’63 Jean Bronson Mahoney ’52 *Georgette Aeurbach Koopman ’37 Lenore Levine Weseley ’54 Lucy Hwa Sun ’74 David and Judith Axenzow Elizabeth Hunter Scott ’62 Sarah Schoenkopf Kovner ’57 Hilary E. Whittaker ’52 Milbrey Rennie Taylor ’68 Lewittes ’63 Lynn Gross Straus ’46 Paula J. Krasny ’85 Marcia Goldman Widenor ’51 Suzan Barnes Thomas ’69 Janet West Lloyd ’55 Connor Strauss ’76 Jennifer C. Krieger ’00 Wildenstein & Co., Inc. Amy Camp Walker ’44 Arthur Loeb Foundation Marlene Panzer Strauss ’52 John D. Lamb ’87 Karleen Doukas Williams ’59 Sue Ann Gotshal Weinberg ’51 John L. Loeb, Jr. Foundation Jeannette Vaught ’05 Rose Kean Lansbury ’53 Lenore Litzky Winkler ’56 Ann Thom Welles ’45-4 Frances Levison Low ’41 Cynthia Berman Watson ’71 Luisa LaViola ’64 Marie J. Wormell ’68 Georgia Elmes Welles ’52 Alison Luchs ’70 Alan P. Wintermute ’81 William and Catherine Leach Dr. and Mrs. Karl Wustrack Katharine Stone White ’36 Jean Bronson Mahoney ’52 John Post Lee ’81 Myra Kriegel Zuckerbraun ’59 Christine M. Martin The Anne Hendricks Bass Director Zoe Webber Levinson ’45 Elizabeth Fox Martin and John May The Frances Lehman Loeb Art Center Leah Levy Patron Members ($1,000 - 4,999) Bannon Jones McHenry ’52 E. James Mundy ’74 Lou and Candace Jenks Lewis ’66 Sustaining Members ($250 - 499) Margaret MacInnes Meagher ’62 Frances Beatty Adler ’70 Naomi Riker Linzer ’46 Mr. and Mrs. Charles M. Andola Charlotte Saville Metcalf ’62 Executive Administrator Janet West Lloyd ’55 Anne Hendricks Bass ’63 Leonard and Ellen Gordon Joanne Cuttler Louise Leipner Arias ’62 Joseph A. Coplin ’88 Victoria Hawks Lombardi ’63 Margaret Travis Atwood ’47 Milberg ’60 Barbara Quick Lorndale ’50 Christie’s Richard and Elizabeth Gosnell Membership/Accounting Assistant Deborah Boldt ’69 Mr. and Mrs. Patrick Demarchelier Margaret Thom Lovejoy ’39 Dorothy Addams Brown ’45-4 Miller ’84 Beverly Doppel Frances Levison Low ’41 Elizabeth Bradley Dorsey ’44 Kenneth and Andrea Leeds Miron ’75 Sally Thackston Butler ’52 Tania Goss Evans ’59 Florence Dell Macomber ’39 Elizabeth Goodrich Chamberlain’38 Mia M. Mochizuki ’93 Area Chairs Martha I. Maguire ’77 Julia Amster Fishelson ’46 Wendy Persson Monk ’77 Boston, Barbara deMarneffe/John Vivien Wong Chen ’77 Emily Hargroves Fisher ’57 Mildred Puryear Marshall ’42 Katinka Podmaniczky Coleman ’39 Ann Lawrance Balis Morse ’59 Gordon Christine M. Martin Anne E. Hayes ’62 Marta E. Nottebohm Chicago, Margery Feitler Julia Blodgett Curtis ’62 Jane Hertzmark Hudis ’81 Elizabeth Fox Martin and John May Barbara Rowe deMarneffe ’52 Brenda Mintz Oestreich ’57 Mid-West, Anne Vogel Steven N. Masket ’75 Maya Bravy Hoffman ’53 James G. and Purcell Scheu Palmer New York, James Curtis/Ali Can Ertug Alice Levi Duncan ’71 Martha Rivers Ingram ’57 Susan Matorin Richard and Margery Kamin Feitler Foundation Poughkeepsie, Dawn Effron/Elizabeth Judith West McCarter ’62 Bettie Schroth Johnson ’56 Purcell Scheu Palmer ’62 Hunter Scott ’85, ’86 Shelley Kates Karlan Sloan McCarthy ’61 Mary Ann Fariello Flemma ’54 Patricia O’Brien Parsons ’51 San Francisco, Jeff Schwarzschild Carol Brooks McCrady ’56 Ambassador and Mrs. Alfred Kingon Antoinette Aiguier Pearman ’45 Santa Fe, Deborah Boldt Earl and Sandra Fowler The Lachaise Foundation Jean Humason McCullough ’51 Margaret N. Frankston ’70 Dorothy Petrix So. California, Lauren Braun Thomas and Gail Levy McGlinchey ’64 Phyllis Markman Landes ’50 Kathryn LaMair Peverill ’53 Washington, DC, Connor Strauss/ Maryann Kallison Friedman ’55 Mr. and Mrs. Jason D. McManus Judith Barhydt McIlduff ’72 Eleanor Fay Gambee ’62 Marjorie Fingerhood Pfeffer ’41 Gay Lord Mary McLaughlin Leonard and Ellen Gordon Ilaria Quadrani Westchester/Fairfield,Ellen Milberg/ Mr. and Mrs. Edward Gershuny Milberg ’60 Mary Bigelow McMillan ’41 Charlotte I. Hall ’54 Odyssia Skouras Quadrani Letitia Potter Susan Harris McPhillips ’71 Mary Swissler Oldberg ’36 Elise Power Quimby ’56 Vivian Halpern Hall ’44 James G. and Purcell Scheu Palmer Andrew Menard and Ruth Rachlin Nancy Gail Harrison ’74 Belle Krasne Ribicoff ’45 Editor Ellen Elting Michelman ’58 Foundation Hector Rodriguez Cynthia Watson Margaret Frey Hastings ’55 Purcell Scheu Palmer ’62 Andrea Leeds Miron ’75 Linda Janien Hickox ’70 Patricia Parsons Rosenwald ’56 Susan D. Mischler ’70 Grace McGraw Parr ’48 David and Margaret Ross Jean Squire Hilliard ’59 Jeanne Greenberg Rohatyn ’89 Alan and Alice Handelman Model ’57 Mr. and Mrs. Fred Huntington Frederick Schroeder and Allison Jay D. Montfort ’89 Deborah Menaker Rothschild ’71 Whiting ’86 Katharine Candee Hunvald ’52 Mary Coxe Schlosser ’51 Priscilla M. Morgan ’41 Isabelle Miller Hyman ’51 Mr. and Mrs. Gilbert Scharf Marlene Panzer Strauss ’52 Deborah Satz Scheer ’50 Anne Henoch Vogel ’63 FALL 04 FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER PAGE TEN

To help continue activities in support of the Art Center, Matching gift form Membership we invite you to become a member of the Friends of the I am (my spouse is) employed by Frances Lehman Loeb Art Center. Form ————————————————————————— Friends of the Frances Lehman Loeb Art Center receive:  Charge my gift to VISA # ______invitations to Art Center openings and special events the Friends newsletter published twice a year  or to Master Card # ______an invitation to the Friends annual meeting  or to American Express # ______invitations to participate in special trips Expiration Date ______Yes, I wish to be a Friend.  Junior Friend (Graduates within 5 years) $25 Name ______ Individual $50-99 Address______ Contributing Member $100-249  Sustaining Member $250-499 ______ Donor $500-999 City______State ______Zip ______ Patron $1000-4999  Director’s Circle $5000 Phone ______Make checks payable to Vassar College, Email ______Friends of the Art Center, Box 102, Vassar College, Poughkeepsie, New York 12604

ART Second Sight: Originality, AT Duplicity, and the Object VASSAR January 14 - April 10, 2005 Non Profit Organization U. S. Postage Paid FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER Poughkeepsie, New York Permit N.o 251